Dr.Dubwiser:NavigatingtheBassVirusandSpain'sSoundsystemEvolution
From home studio experiments to shaping Spain's dub landscape, Dr. Dubwiser reflects on authenticity, community, and the future of soundsystem culture.
Dr. Dubwiser is a foundational figure in the Spanish reggae and dub scene, having been active since the early 2000s as a selector before evolving into a prolific producer and soundman. Known for his distinctive dub productions and deep understanding of soundsystem culture, he has played a crucial role in shaping the sonic landscape of Spain. In this interview, Dr. Dubwiser shares his journey, insights into the scene's evolution, and his vision for its future.
/For those who might not know you yet, who is Dr. Dubwiser? Tell us about those early days between the home studio, the first experiments with dub, and the moment you thought: "I think this bass virus is incurable."
A: After many years of activism in reggae (I've been DJing and organizing parties since 2000), pushing various collectives forward, I decided to start a project tailored to my own taste. I began by making dub versions of tracks that several producers provided to me, and that's when I decided to start with my own productions. The first ones were recorded in friends' studios and rehearsal spaces until I started setting up my own studio with the help of GOE (Good Over Evil, Tortosa)... and from those humble beginnings, here we are today.
/If you traveled ten years into the past and appeared at a soundsystem session in Spain, what would surprise you most upon returning to the present? Have we truly evolved, or do we just wear better trainers and use more filters in our photos now?
A: On one hand, the number of soundsystems has multiplied, which I think is great. On the other hand, the number of live bands has decreased, which I miss. Regarding soundsystems, I honestly think there are too many and they're too similar; there are few original ideas, lineups often repeat, and the essence of what I believe the soundsystem scene should be is being diluted.
/Spain has grown significantly in soundsystem culture, but do you think there's already a unique identity, or are we still excellent translators of what Jamaica and the UK are doing?
A: Yes, a unique identity exists. There are some projects that have managed to develop something truly their own, but many others have merely copied and translated (and some quite crudely) instead of adapting it to the local reality and making it their own.
/Social media promised to connect the entire scene. Has it served to unite the community, or has it also created a competition over who uploads the video where the bass seems to move more walls than people?
A: Damn social media... it has connected us. Personally, it has given me visibility that wouldn't have been obvious given my small corner of the world. On the other hand, it's a trap that makes us compete with our egos, gives importance to everything superficial, and detracts from the more activist and conscious aspects.
/Every few years, a new subgenre, a new label, or a new trend appears. Do you think this keeps the culture alive, or is there a risk that we'll end up needing a dictionary larger than our dubplate collection?
A: I think it's a positive thing. Although many of these new trends are not to my liking, I believe they are necessary for evolution and, as you rightly say, for keeping this culture alive.
/Festivals dedicated to reggae, dub, and bass music are multiplying. Do you think they truly help strengthen soundsystem culture, or, in some cases, do they sell the aesthetic without conveying the philosophy behind a handcrafted sound system?
A: I think there are two types of festivals: the small, local, and self-managed ones, and those that are conceived as businesses. The former haven't grown as much, while the latter, the business-oriented ones, have grown exponentially and do us a disservice. That's not to say everything has to be free and done for the love of it – this is work and it needs to be remunerated, but not to try and get rich.
/From your experience as a producer, what's harder today: building a good track or building a scene where producers, selectors, MCs, and soundsystem builders all pull in the same direction?
A: Clearly, creating that scene. It seems like a mission impossible.
/Looking to the future, what challenges do you see as most important for soundsystem culture in Spain? Generational handover, event spaces, legislation, economy... what should change so that in ten years we are better off than now?
A: The generational handover is already happening. I believe the challenge now is self-management and grassroots organization, leaving the 'vampires' aside. But that involves artists, producers, and especially the audience, who make it viable for this to grow.
/If you could give one piece of advice to anyone wanting to start in soundsystem today, what would you tell them to pursue first: the best speaker, the best DAW... or the patience to understand that dub isn't downloaded, it's learned?
A: To experiment, to do what they can with what they have, and not to rush their progress. That's what it's all about.
/Finally, tell us a funny anecdote that happened to you at an event, in the studio, or during a trip. And take the opportunity to send a greeting to all the people who keep soundsystem culture alive... even those who keep saying: "Turn up the bass a bit more," as if the limiter negotiates.
A: I don't have any hilarious ones that can be shared here, but there have been funny situations like adjusting an EQ for a long time and then realizing it was in bypass... those are moments when you feel quite silly! A big shout-out to all the good people who are involved in all of this in some way, especially the people behind the scenes, whom no one sees but without whom everything would be more difficult or even impossible. Top respect to the local old school, those people who lit the flame, who made us discover this world more than 30 years ago, and for most of whom their names have fallen into oblivion.